Flux and Traces

19 2014-2015

DPA - DEPARTMENT OF ARCHITECTURAL DESIGN ETSAM - ARCHITECTURE SCHOOL OF MADRID UPM - TECHNICAL UNIVERSITY OF MADRID

Abraham Ortelius. “Atlas Theatrum Orbis Terrarum”. 1570

ISBN 9788494292620

www.etsamadrid.upm.es www.dpa-etsam.com

9 788494 292620

Atlas of emulations of the Informal IV: Flux and Traces

ud

Atlas of emulations of the Informal IV: Flux and Traces ud

19

2014-2015

07

6 th International Design Seminar

This book is aimed at the architecture department of Feng Chia University to thank their efforts representing the informal as well as to the Architecture School of Puerto Rico for their efforts representing density.

This proposal developed by the educational innovation group “Dispositivos Aglutinadores de Proyectos” of the School of Architecture E.T.S.A.M. from the Technical University of Madrid has compiled ‘teaching information’ to deal with cultural particularities, texts, images, data… which are presented as tools that will conform a future atlas. Through this book a unique methodology is offered as a guideline; it has already travelled and has been tested in different schools all over the world, exploring areas able to combine future opportunities within the already existing background.

With this play board, which is a gift for us, we hope to formalize a game between strangers who, at the end, will not be so anymore.

7th International Design Seminar:

ATLAS OF EMULATIONS OF THE INFORMAL IV: FLUX AND TRACES

--Technical University of Madrid (Spain).

Feng Chia University (Taiwan).

Polytechnic University of Puerto Rico, ArqPoli (Puerto Rico).

--Grupo de Innovación Educativa: Dispositivos Aglutinadores de Proyecto (DIP).

--Architectural Design. Course 2014-2015.

Spring term. Unit 19 Soriano.

--Spanish teachers: Federico Soriano, Pedro Urzáiz, Eva Gil. Spanish assistant teachers: Borja Lomas, Carlos Chacón, Arantzazu Luzarraga, Natalia Matesanz.

--Taiwan: Shwuting Lee (Chairman of architecture department) Grace Ming-En Chang (teacher and coordinator), Lucas Yeh (teacher), Jerry Hsiao (teacher), Matyas Gutai (teacher).

Puerto Rico: Carlos E. Betancourt (Dean and coordinator), José Lorenzo (teacher).

de la cultura contemporánea

Editorial Libro de bolsillo sobre arquitectura.

Título: “Atlas of Emulations of the Informal IV: Flux and Traces. Reseach about the teaching Ud 19 Assignment 2014-2015.”

Julio 2014. Número fuera de colección.

Publicación non-profit de investigación universitaria.

10 euros, 7 pounds, 14$ USA.

Esta publicación forma parte de los trabajos realizados dentro del grupo de investigación PRoLAB_ Laboratorio de Investigación del Proyecto Contemporáneo, línea de investigación “Atlas”.

Esta publicación posee el sello “I”.

Director Fisuras.

Fisuras Director.

Federico Soriano.

Editores de este número.

Editors for this issue.

Federico Soriano.

Pedro Urzáiz.

Eva Gil.

Redactores.

Editorial advisers.

Dolores Palacios.

Borja Lomas.

Carlos L. Canella.

Diseño gráfico.

Graphic Design.

Borja Lomas.

Carlos L. Canella

Imprenta. Printer: Deca Quattro Servicios Gráficos S.L.L. Avenida de los Pirineos 7, Oficina B 5 28703 San Sebastián de los Reyes Tel: 917 04 59 38 Distribución, suscripciones.

Distribution, subscriptions: Revista Fisuras Avenida de Levante, 41 28016 Madrid Tel/Fax: 0034 91 519 21 56 fisuras@fisuras.es Depósito legal M-988-2015 ISBN 978-84-942926-2-0

Atlas of emulations of the Informal IV: Flux and Traces

Index Course Schedule Contract sample Site Traces Objects (reference to “Inventory”) Flux References Traces References Texts Bibliography /// María Jerez “Inventory” Unusual Atlas of construction details

* Title of a previous book with additional information needed to join this course.

3 5 21 25 29 51 83 89 105 155 169 * *

Course

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Atlas de las emulaciones de lo informal IV: corrientes y rastros.

Reflexión.

En el primer capítulo del libro “Limbo” Agustín Fernández Mallo relata los hechos que acontecieron en uno de los primeros descubrimientos que Werner Heisenberg realizó al inicio de su carrera. Aquella primera iluminación se produjo influenciado por un comentario que oye a Niels Bohr: “al llegar al mundo de los átomos, al científico no le interesa tanto hacer cálculos como crear imágenes”. Heisenberg entiende que crear imágenes es crear una intuición. En el caso concreto que se relata, la intuición que tuvo Heisenberg en su primer paso por la mecánica cuántica fue:”Entender cómo es el mundo fijándose únicamente en los estados iniciales y finales de las cosas, sin preocuparse de cuanto ocurre en medio” 1 Este es un texto que describe perfectamente dos condiciones que desde esta unidad docente formalizan el proyecto arquitectónico. Nosotros también creamos imágenes iniciales que se convierten en intuiciones.

Intuiciones de un programa, de unos materiales, de unas arquitecturas.

No interesa resolver los problemas como crear imágenes que eliminan el problema. El arquitecto crea intuiciones a través de las imágenes. Estas aprehensiones siguen siendo gráficas o visuales pero transcienden a entramados críticos que sostienen un trabajo proyectivo.

Pero también interesa que nos detengamos un momento en la segunda frase, la de la futilidad de los estados intermedios. Los procesos, las apologías y los descargos, que son nuestros estados intermedios, no pueden justificar un estado del proyecto final que debe sostenerse por sí mismo. Las corrientes y los trazados que el proyecto sufre en su desarrollo, largo, complejo e incontrolado, es una condición real, pero personal, particular aunque común, integrada en el proyecto y nunca exclusiva del objeto arquitectónico.

Un proyecto sufre una deriva proyectual intensa y profunda como la que genera un tsunami desde una costa de los océanos hasta la opuesta.

Una deriva que, por otro lado, es interesante conocer ya que muestra el camino y el mapa de nuestros pensamientos e intereses.

1. Fernández Mallo, Agustín.- “Limbo”. Barcelona. Alfaguara. 2014. Pág. 10.

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Objetivo.

El 11 de marzo de 2011 se produjo un terremoto de magnitud 9,0 MW1 que generó inmediatamente un tsunami. Las olas de más de 40 metros barrieron y destruyeron una parte importante de las costas y ciudades orientales de Japón. Las aguas, al retirarse, se llevaron 5 millones de toneladas de materiales, auténticos pedazos completos de ciudades.

Se calcula que la mayor parte se hundió en el mar o se acumuló a la “isla de basura” del norte del Pacífico. Pero una parte de ellos llegaron a las costas americanas formando una amalgama discontinua de informaciones y datos. Cada grupo aporta informaciones de un espacio urbano o privado. Lo que llegó es un estado final. Vamos a crear la intuición del estado inicial.

Para ello el alumno dispondrá de una colección de objetos dispersos generados durante la primera semana, un mapa de un lugar y unos fragmentos de documentos arquitectónicos. Estos contenidos se entregarán en los dos libros enunciados que se publicarán al inicio del curso. Con ellos el alumno deberá elaborar un proyecto completo y complejo de arquitectura que deberá ser descrito tanto para los alumnos de P9 del plan antiguo como para los de P8 del plan 2010 con un nivel de detalle preciso y concreto que integre todos los conocimientos adquiridos en la carrera.

Los objetos indican programas, usuarios, horarios, productos, patentes, recorridos, hibridaciones,… Los lugares indican entornos, materiales, reflexiones energéticas, espacio público, negociabilidad,..

Y los documentos arquitectónicos fragmentarios indican condiciones espaciales, representación, secciones,… Los rastros de su movimiento temporal hasta el estado final muestran vuestros intereses personales que construirán el mundo de razones críticas que deberá acompañar vuestro trabajo de aquí en adelante.

Palabras.

Intuiciones, Imágenes, Estados, Deriva, Simulaciones, Desintegración, Versiones, Trazos y Rastros, Corrientes, Teorías.

“La manera de mirar moderna es ver fragmentos. Se tiene la impresión de que la realidad es en esencia ilimitada y el conocimiento no tiene fin. De ello se sigue que todos los límites, todas las ideas unificadoras

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han de ser engañosas, demagógicas; en el mejor de los casos, provisionales; casi siempre, y a la larga, falsas. Mirar la realidad a la luz de determinadas ideas unificadoras tiene la ventaja innegable de dar contorno y forma a nuestras vivencias. Pero también –así nos instruye la manera de mirar moderna- niega la diversidad y la complejidad infinitas de lo real. Por lo tanto reprime nuestra energía, nuestro derecho, en realidad, de refundar lo que deseamos refundar: a nuestra sociedad o a nosotros mismos. Lo que libera, se nos dice, es notar cada vez más cosas” 2 Debemos mantenernos, hoy en día, inmersos en la imagen de la corriente de fragmentos, rodeados de un conjunto de cosas sobre las cuales no deseamos reconstruir un orden completo, como si eso fuera posible o interesante, sino convencidos que esa nube es precisamente el único orden posible e instantáneo. Que cualquier otra combinación anulará la anterior. Que la imagen de la red de fragmentos fluctuantes es la única verdad parcial.

Daniel Canogar. “Vortices”. 2012 2. Sontag, Susan.- “Al mismo tiempo: Ensayos y conferencias”. Barcelona. Mondadori. 2007. Pág 135.

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No importa si los relatos, los programas, los espacios, que se construyan desde los fragmentos en esa red, sean verdaderos o no. Lo importante es el aprendizaje de unos recursos arquitectónicos que produzcan un “efecto de lo real”, proyecten lo posible a un extremo que sea visualizado más nítido que lo real.

Métodos.

El curso se centrará en trabajar sobre diversos proyectos y modelos, tanto individual o conjuntamente como en grupos colaborativos entre alumnos de diversas universidades. El conjunto de la unidad docente producirá, por un sistema protocolarizado, una emulación de superestructura urbana con el conjunto de fragmentos reconstruidos.

Estos proyectos individuales ya introducirán lo público y lo privado en programas híbridos.

El método será claro y se impulsa la producción rápida del proyecto, de los resultados y de los discursos. Queremos trabajar favoreciendo la dispersión, proponiendo programas y ritmos distintos para cada nivel, de tal manera que aunque coincidan en clase sus influencias y aportaciones sean muy diversos. También se producirá una interferencia y ajustes entre cada proyecto individual y el entorno que debe reaccionar en tiempo real a lo que se está proyectando.

El curso pretende también investigar sobre modelos de presentación digital del proyecto de arquitectura. Por ello, se fomentarán las correcciones en proyecciones sobre pantalla a escala arquitectónica (real), así como los microvideos que eliminarán las explicaciones directas del alumno y las maquetas a gran tamaño.

Trabajaremos sobre diversos soportes digitales (modelos de presentación digital, vídeos, gifs animados, clases en live streaming, cursos MOOC - Massive Open Online Course, etc…) adecuando la comunicación del proyecto arquitectónico a estos formatos, prestando atención a la cita de Marshall Mcluhan: “El medio es el mensaje”.

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Atlas of emulation of the informal: flux and traces.

Thought.

In the first chapter of his book “Limbo”, Agustín Fernández Mallo tells us about the facts that occurred in one of the first discoveries that Werner Heisenberg made early in his career. That flash of inspiration was influenced by a comment he heard from Niels Bohr: “when coming into the world of atoms, the scientist is more interested in creating images rather than making calculations “. Heisenberg thought that creating images was all about creating an intuition. In the reported particular case, the intuition that Heisenberg had in his first step on quantum mechanics was as follows: “Understanding how the world is by looking only at the initial and final states of things without worrying about what happens in the meanwhile” 1.

This text describes accurately two conditions that, according to this teaching unit, formalize the architecture project. We also create early images that turn into intuitions. Intuitions about a program, some materials or architectures. Not interested in solving problems as much as creating images that eliminate the problem. An architect creates intuitions through images. These apprehensions are still visual or graphical but transcend into critics which hold a projective work.

It also interests us to stop for a moment at the second sentence, the one about the futility of intermediate states. Processes, apologies and disclaimers, namely our intermediate states, cannot justify a final state of the project, which must stand on its own. Flows and paths experimented by the project on its long, complex and uncontrolled development, are a real condition. All the same, it is a personal, particular but common condition, integrated in the project and never an excuse for the architectural object.

A project experiments an intense and deep ‘design adrift’, as the one generated by a tsunami from one coast to the opposite one. On the other hand, it is interesting to analyse this adrift because it shows the path and the map of our own thoughts and interests.

1. Fernández Mallo, Agustín.- “Limbo”. Barcelona. Alfaguara. 2014. Pág. 10.

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Goal.

On March 11, 2011, an earthquake of magnitude 9.0 MW1 immediately generated a tsunami. The waves were over 40 meters and destroyed a large part of the coast and eastern cities of Japan. The water took 5 million tons of materials, entire pieces of cities. It is estimated that most of them sank at sea or accumulated to the Great Pacific Garbage Patch.

But some of them arrived in American shores forming a discontinuous amalgam of information and data. Each group provides information about an urban or a private space. What came is a final state. Let’s create the intuition of the initial state.

To do so, students will have a collection of scattered objects generated during the first week, a map of a place and a few fragments of architectural documents. These contents will be given in two statement books that will be published at the beginning of the semester. With this information each student has to produce a complete and complex architectural project.

This project will be described by both, P9 students from the old plan and P8 students from the 2010 plan. This description should achieve a level of precise and concrete detail that integrates all the knowledge acquired throughout their studies.

Objects indicate programs, users, schedules, products, patents, routes, hybridizations, ... Places indicate environments, materials, energy reflections, public space, negotiability, .. And fragmentary architectural documents indicate spatial conditions, representation, sections, ... Your personal interests will be shown on traces of their temporary movement until the final state; these interests will build the world of critical reasons which must go along with your work from now on.

Words.

Intuitions, Images, Conditions, Adrift, Versions, Strokes and Traces, Streams.

Simulations,

Disintegration,

Theories. “The modern way of seeing is to see in fragments. It is felt that reality is essentially unlimited, and knowledge is open-ended. It follows that all boundaries, all unifying ideas have to be misleading, demagogic; at best, provisional; almost always, in the long run, untrue. To see reality in the light of certain unifying ideas has the undeniable advantage of giving shape and form to our experience. But it also – so the modern way of

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seeing instructs us – denies the infinite variety and complexity of the real.

Thereby it represses our energy, indeed our right, to remake what we wish to remake – our society, ourselves. What is liberating, we are told, is to notice more and more” 2.

We must nowadays remain absorbed in the image of a stream of fragments. Surrounded by a set of leftover things, we do not wish to reconstruct a complete order, as if was possible or interesting; but convinced that this cloud is precisely the only possible and instantaneous order. Any other combination will abolish the previous one. The image of a network of flowing fragments is the only partial truth.

Daniel Canogar. “Vortices”. 2012

It is of no matter if the stories, programs and spaces constructed from fragments in the network are true or false. The truly important thing is to learn architectural resources that produce an “effect of reality”; designing the possible in an extreme where it is displayed more accurately than the real.

2. Sontag, Susan.- “Al mismo tiempo: Ensayos y conferencias”. Barcelona. Mondadori. 2007. Pág 135.

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Methods.

The course will focus on working on various projects and models, both individually or jointly and in collaborative groups among students from different universities. The entire teaching unit will produce, according to a established system, an emulation of an urban superstructure with the set of reconstructed fragments. These individual projects will have already introduced the public and private spheres on hybrid programs.

The method is clear and promotes a fast production of project, results and speeches. We want to work enhancing dispersion, proposing different programs and rhythms for each level, so that even if they meet at the classroom their influences and contributions will be very different.

Interference and adjustments between each individual project and the environment will also happen, and the project must react in real time to what happens around it.

The course also aims to research on media representations of the architectural project. Therefore, screen projection reviews with real architectural scale, microvideos that eliminate personal student explanations and large scale models will be encouraged.

We will work on different digital supports (digital presentation models, videos, animated gifs, live streaming classes, courses MOOC - Massive Open Online Course, etc ...) adapting the communication of the architectural project to these supports, paying attention to the quote from Marshall McLuhan “the medium is the message�.

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Protocolo En la primera parte del curso, cada alumno trabajará durante el primer mes del curso con las imágenes iniciales.

La segunda semana de curso el alumno recibirá una serie de objetos, con los que deberá operar, que las corrientes nos han hecho llegar tras la acción colaborativa conjunta que se realizará el día 9 de febrero como arranque del curso. Esta acción o cadena de asociación de objetos, construida con los 162 objetos que forman parte del segundo libro del curso, el libro que recoge varias obras de la artista María Jerez, constituirá la primera intuición de proyecto para el alumno. A partir de estos objetos, el alumno responderá a múltiples preguntas sobre su proyecto al disponer los objetos en una mesa de disección. Preguntará a los objetos, establecerá nuevas asociaciones entre ellos, por su materialidad, su uso, su pertenencia, los usuarios a los que pertenecen, lo usuarios que los anhelan, cómo María Jerez hace en sus piezas.

En la tercera semana del curso el alumno incorporará un rastro a esta imagen inicial: un fragmento de documento arquitectónico de los 15 contenidos en este libro, que formará parte, como un documento propio, de su proyecto (y no exclusivamente como una referencia arquitectónica). Con los objetos, todas las respuestas encontradas o imaginadas y el rastro arquitectónico el alumno deberá construir una maqueta muy rápida de la intuición de su proyecto hasta ese momento, con una extensión de 2.000 m2 de superficie. La escala de la maqueta se especificará en clase.

La cuarta semana del curso el alumno recibirá otra imagen inicial que se incorporará a esta intuición proyectual: el lugar donde deberá instalarse, una zona entre el puerto y el centro de la ciudad, formada por rastros, de la segunda ciudad más grande de la isla de Taiwán, Kaohsiung. En esta cuarta semana el conjunto de la clase producirá de forma colaborativa una cartografía de la zona con las intuiciones físicas de 2.000 m2 que los alumnos han producido, a modo de superestructura urbana que será distribuida después por lotes y áreas entre los alumnos de la Unidad.

Cada alumno recibirá una hectárea (10.000 m2 de extensión) de esta ciudad intuida para desarrollar su proyecto cuyo programa, arquitectura, material, superficie, uso, etc… vendrá definido por las primeras intuiciones asignadas en las primeras semanas de curso.

La quinta semana el alumno tendrá que producir un vídeo de 1 minuto

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que deberá subir a la página de Facebook del cuatrimestre que describa la intuición inicial de su proyecto, como base para la elección del primer compañero de otra universidad con el que se trabajará conjuntamente.

Se fijarán las cláusulas del acuerdo entre compañeros y se firmará también el contrato base que se adjunta en este libro, al que se lo podrán añadir/suprimir clausulas.

La sexta semana de curso se hará una nueva acción colaborativa: se constituirán las mesas de negociaciones entre lotes o áreas de 1 ha en las que los diversos agentes (equipos de alumnos) se sentarán para pactar y negociar las condiciones que regirán sus retroalimentaciones, sus colaboraciones, sus conflictos, sus límites, sus servidumbres, sus proyectos, sus arquitecturas, etc... Este proceso terminará con la elaboración de unos documentos o anexos a la negociación propiamente dicha que recogerán los resultados y acuerdos alcanzados en las mismas: axonometrías/cartografías resultantes (Históricamente todo acuerdo de paz siempre iba acompañado de mapas).

En la séptima semana del curso se hará una entrega del pre proyecto del equipo de alumnos como culmen de estas imágenes iniciales producidas por las corrientes y los rastros de la mitad del curso. La calificación de esta supondrá el 35% de la nota del cuatrimestre. Primera entrega: cartografía del proyecto dentro del conjunto y resultado de las negociaciones.

En esta segunda fase del curso, a partir de este punto cada grupo trabajará sobre los estados intermedios de sus proyectos. Los procesos y el desarrollo de los mismos serán los protagonistas en este punto del curso.

En la octava semana del curso cada equipo incorporará un integrante más de otra universidad al grupo de trabajo colaborativo. Para ello, cada equipo elaborará un pequeño dossier A6 que deberá contener el estado del proyecto en ese momento y que se seguirá completando hasta el final del cuatrimestre con la documentación de los procesos seguidos por el grupo (cuyo formato de InDesign se proporcionará por la Unidad).

Dicho dossier se subirá a la página de Facebook del cuatrimestre para la elección de nuevo miembro.

En las posteriores semanas cada grupo trabajará en el desarrollo de los siguientes documentos que formarán parte del proyecto final y que producirán un “efecto de lo real”, en este orden: la planta A1 (que pasará a ser A0), la maqueta A1, la sección A1 (que pasará a ser A0) y la imagen

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de su proyecto que incluirá aquellos aspectos, no solo materiales, que los anteriores documentos arquitectónicos no pueden ficcionar.

Durante la primera semana de mayo (semana 14) se procederá a una revisión de los procesos de proyecto de cada grupo en formato A1 (impreso en papel). Esta revisión o pre entrega conlleva el 15% de la calificación del cuatrimestre y es indispensable para poder obtener una calificación al final del cuatrimestre en la entrega final.

Las dos siguientes semanas se dedicarán a la postproducción y elaboración de la documentación que constituirá la entrega final del cuatrimestre, tras la revisión y puesta en común hecha la semana anterior.

Al final del cuatrimestre, la última semana se producirá la entrega final que consistirá en una planta A0 de su proyecto, una sección A0, una maqueta A1 y un dossier A6 del curso. Esta entrega tendrá un desarrollo alto constructivo. La entrega se hará tanto en papel como en formato digital, adjuntado a la misma un CD/DVD rotulado correctamente con los datos del alumno que contenga toda la documentación digital elaborada durante el cuatrimestre. La calificación de esta entrega supondrá el 50% de la calificación del alumno. Existirá una calificación complementaria del 20% que corresponderá a la maqueta A1 (50% documentación gráfica en A0 y A6 / 20% maqueta en A1).

Formatos El sistema protocolizado de entregas será el siguiente: Primera entrega: Entrega pre proyecto. Semana 7 del curso: cartografía del proyecto dentro del conjunto (contendrá todo lo elaborado hasta la fecha) y resultado de las negociaciones. Nota: 35% calificación cuatrimestre.

Revisión: Entrega desarrollo proyecto. Semana 14 del curso: planta, maqueta, sección A1, imagen, en papel. Nota: 15% calificación cuatrimestre. Es obligatoria para tener nota de final de cuatrimestre.

Segunda entrega: Entrega final. Semana 17 del curso: planta A0, sección A0, maqueta A1, dossier A6, CD/DVD documentación digital generada en el curso. Nota: 70% calificación cuatrimestre: 50% documentación gráfica, 20% maqueta).

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Protocol In the first part of the course, each student will work during the first month with the initial images.

In the second week of the course students will receive a series of objects, objects to operate with, objects that the “currents” have sent to us after the group event that will take place on February 9th as the course starting point. This action or chain association of objects, built with the 162 objects that are part of the second book of the course (including several works by the artist María Jerez), will be the first project intuition for the student. From these objects students will answer multiple questions about their project, displaying and classifying them on a dissection table. They will ask the object, establishing new associations including its materiality, its use, its ownership, the users that it belong to, the users who crave for it, the same way María Jerez do in her pieces.

In the third week of the course students will incorporate a trace to this initial image: a fragment of an architectural document from the 15 within this book, a trace that will become a stand-alone part in their own project (and not just as an architectural reference) . With objects, all the answers found or imagined and with the architectural trace the students will build a very quick model of the intuition of their project so far, with an area of 2,000 m2. The scale of the model will be specified in class.

In the fourth week of the course students will get another initial image to be incorporated into their project intuition: the location where it should be placed, a large area between the harbour and the city center, traces, of the second largest city of the island of Taiwan, Kaohsiung. In this fourth week the whole class will produce collaboratively a map of the area with the 2,000 m2 physical intuitions that students have produced, building a urban superstructure that will be after distributed by perimeters and areas between students. Each student will receive one hectare (10,000 m2 extension) of this intuited city to develop their project whose program, architecture, material, surface, use, etc ... will be defined by the first intuitions given in the first weeks of the course.

In the fifth week the students must produce a 1 minute video to publish in the Facebook page of the group, describing the initial intuition of their project. This video will be the basic criteria to choose the first partner from another university, a partner they will work with. The clauses of the contract between partners will be set, using the contract attached in

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this book as a model, with the possibility to add or remove clauses as needed.

In the sixth week of the course it will be a new collaborative event: the various players (teams of students) with perimeters or areas of 1 ha will sit in the negotiating table. They will negotiate the conditions that will rule their interactions, their collaborations, their conflicts, their boundaries, easements, their projects, their architectures, etc ... This process will result in the elaboration of documents or “negotiation attachments” that will collect the agreements: axonometrics / resulting maps (historically any peace agreement was always accompanied by maps).

There will be a midterm submission (in the seventh week of the course) of the pre-project as a finishing of the work with these initial images produced by flux and traces. The grade of this pre-project will suppose the 35% of the total grade of the semester. First submission: cartography of the project within the whole and result of negotiations.

In this second phase of the course, from this point each group will work on the intermediate stages of their projects. The processes and their development will be the main characters at this point of the course.

In the eighth week of the course each team will incorporate another member from another university to the working group. In order to achieve this each team will make a small A6 brochure which should contain the project status at that time. That brochure will continue being filled until the end of the semester with documentation of the processes developed by the group (InDesign template will be provided by the Unit ). This dossier will be published on the Facebook page of the semester for the election of a new member.

In the following weeks each group will work on the development of the documents which will form part of the final project and will produce an “effect of reality”. The documents, in order, will be: A1 plant (which will become A0), the A1 model, A1 section (which will becomes A0) and the image of your project that will include those features, not only material, that previous architectural documents can not fictionalize.

During the first week of May (week 14) a review of project processes will take place, requesting from each group A1 format (printed on paper).

This review or pre-final submission involve 15% of the total grade and it is compulsory to obtain a grade at the end of the semester in the final submission.

The next two weeks will be for post-production and preparation of the

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documents which will constitute the final submission of the semester, after the previous week reviewing and sharing.

At the end of the semester (last week) the final submission will consist of A0 plant, A0 section, an A1 model and A6 brochure. This documents will have a high constructive precision and detail. The submission will be made both on paper and in digital format, attaching a CD/DVD properly labeled with the student data, containing all the digital documentation produced during the semester. The grade of this submission will involve 50% of the student’s grade. There will be an additional qualification of 20% which corresponds to the A1 model (50% graphic documents in A0 and A6 / 20% scale A1 model).

Formats The protocolized submission system will be as follows: First submission(mid-term): Pre-project submission. Week 7 of the course: cartography of the project within the whole (containing everything produced to date) and the results of negotiations. Grade: 35% of total semester grade.

Review: Development submission. Week 14 Course: plan layout, model, A1 section, image, everything on paper. Grade: 15%. It is compulsory to get a final grade at the end of the semester.

Second submission (final): Final project submission. Week 17: A0 plan, A0 section, A1 model, A6 dossier, CD/DVD with digital documents generated in the course. Grade: 70% semester total grade: 50% graphic documentation, 20% model).

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Schedule

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week 1 (3-6 feb)

week 2 (9-13 feb)

week 3 (16-20 feb)

week 4 (23-27 feb)

week 5 (2-6 mar)

week 6 (9-13 mar) week 7 (16-20 mar)

week 8 (23-27 mar)

week 9 (30-3 mar)

week 10 (6-10 april)

week 11 (13-17 april)

week 12 (20-24 april) week 13 (27-1 april)

week 14 (4-8 may)

week 15 (11-15 may)

week 16 (18-22 may)

week 17 (25-29 may)

FENG CHIA UNIVERSITY TAICHUNG

ETSAM/UPM MADRID

ARQPOLI PUERTO RICO

presentation + lecture “objects” Event+ lecture site lecture from Taiwan + 2000m2 model in Madrid

presentation

group Event + site election / 25 feb Reading Club

partner selection + 1´ videos from Madrid + contract signing

plan and section negotiations + lecture

midterm submission

presentation

development (week off for school trips) / 25 mar Reading Club

partner selection

easter holidays

plan development

model development

section development

image and materiality pre-submission A1

development and adaptation

development and adaptation documents post-production A0 plan + A0 section+ A1 model to final submission

final submission

final submission

final submission

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Contract sample

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CONTRACT BETWEEN ELENA JUARROS UTRILLA student from ETSAM (Universidad Politécnica de Madrid), located at Madrid, Spain And MICAELA DASKALOPOULOU student from Democritus University of Thrace, located at Xánthi, Greece WHEREAS I.- This document sets forth the terms of the agreement between ELENA JUARROS y MICAELA DASKALOPOULOU fort the university collaboration.

II.- In consideration of the premises and the mutual covenants and agreements here in contained, The Parties, having legal and contractual capacity, enter into this collaboration Agreement, according to the following.

FIRST.- WORK The parties intend to promote and exploit the following work: Title: “Informal Atlas Favela” University Faculty: “Architecture” Duration: since mid-october 213 until until end-december Year of production: 2013

STIPULATIONS

SECOND.- GRANT OF RIGHTS Therefore, The Parties does hereby grantsand licenses to their respective Universities, the exclusive right to reproduce, distribute, exhibit, advertise, market and exploit the project in the languages set out herein.

To this end, the Parties shall be entitled to negotiate and conclude license and/or distribution agreements with third parties for the exploitation of the project. The Universities shall respect the integrity of the project.

THIRD.- THE QUESTION OF AUTHORSHIP The Parties are granted the right to insert or have inserted their logo, trademark or tradename before the beginning or at the end of the project, or in any produced materials.

FOURTH.- WORKING METHOD All works must be edited and delivered in one of the following extensions: .JPG, .PDF, .PSD, .DWG, .PPT, .PNG, .AVI, .MOV, .3DM. Also, hand drawings or sketches must be scanned or photographed.

In relation to Dropbox Folder Organization: - Folder of Suggestions like images, Websites, ideas, videos, articles from magazines or newspapers, TV programs…

- Folder for made documents (not only the finals documents, process documents also, always editable and non-editable documents) - Text document as a project diary.

FIFTH.- WORK LANGUAGE The language used for the workflow of the present Agreement, should be english.

SIXTH.- COMMUNICATION Notifications will be made through: Facebook, email, skype.

SEVENTH.- TIMETABLE The Parties agree to give a sign of life daily, even if it’s to say… “I haven’t done anything today” (will happen often).

In any case, The Parties will try to do a meeting once a week.

EIGHTH.- METHODOLOGY The Parties undertake to contribute ideas of different sorts for the achievement of the goals governing the subject of this contract.

On the one hand, Micaela Daskalopoulou, will provide information and references, whether bibliographic references (books, newsletters, magazine and publications), multimedia (video and audio), and any other directly associated with de project. Furthermore, she will be responsible for making models (modeling).

On the other hand, Elena Juarros Utrilla, shall be responsible for the development of the graphic support elements. These include the development and conceptualization of the sketches that illustrate the different phases of the project, and the various CAD drawings and renders required for proper completion of project.

NINTH.- BREACH OF CONTRACT When any party breaches the provisions of the present Agreement, the defaulting party, at the other party’s written request, shall fulfill its obligation in the term of seven (7) days maximum. The non-fulfillment of their respective contractual obligations by any of the Parties, shall entitle the non-defaulting party, at its sole decision, to terminate this Agreement.

TENTH.- OTHER AGREEMENTS - Try to comment every document sent by the other teammate, always constructively.

- Comment the teachers corrections and try to find other points of view and things in common.

- If a team member is very lost, please shout for help.

In witness whereof, the parties hereto have executed this Agreement in two copies, 14th of October 2013.

Micaela Daskalopoulou

Elena Juarros

Contract sample by Elena Juarros, made during the course 2013-2014 first term

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Traces

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Jes煤s L贸pez Rodriguez. Level 8. 2014-2015. 1st Term. Plan

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Ara Gonzรกlez Cabrera. Level 8. 2014-2015. 1st Term. Plan

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Javier Arias Maroto. Level 8. 2014-2015. 1st Term. Plan

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Andrés Rábano Luzano. Level 9. 2014-2015. 1st Term. Plan

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RocĂ­o Lacarte Poveda. Level 7. 2014-2015. 1st Term. Plan

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Natalia Mogoll贸n Garc铆a. Level 7. 2014-2015. 1st Term. Plan

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Marcos GarcĂ­a Mouronte. Level 8. 2014-2015. 1st Term. Plan

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Ignacio Nistal Bovill. Level 8. 2014-2015. 1st Term. Plan

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Diego PĂŠrez Sancristobal. Level 9. 2014-2015. 1st Term. Plan

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Ana Basabe GarcĂ­a. Level 7. 2014-2015. 1st Term. Plan

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Adolfo MartĂ­nez MegĂ­a. Level 7. 2014-2015. 1st Term. Plan and diagram.

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Ane Ferreiro Sistiaga. Level 8. 2014-2015. 1st Term. Plan

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Juan Antonio Algora. Level 8. 2014-2015. 1st Term. Plan

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Eduardo PĂŠrez Vinuesa. Level 9. 2014-2015. 1st Term. Plan

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Lucía Fernández Ramos. Level 9. 2014-2015. 1st Term. Plan

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Objects (reference to Inventory)

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— transcription of “objects as questions” from María Jerez “Ba Deedly”— What do you see when you hear?

How can the sound become multiple images?

How does the architecture of the theater sound?

Where are those voices coming from?

Are we possessed by what?

Can the body work in multiple directions?

How do all these directions relate to each other? Dissociation? Unison? Matching?

Contradiction? Embodiment? Appropriation?

How can we propose an image that has the same mobility as the element “mercury” has?

What is the minimum change you can do in order to become something else?

Is a choir a body made by other bodies?

How can we treat each spectator as a unique system of perception?

Can we be in a theater as we are at home?

What kind of emotion does a soundtrack bring to an every day life action?

How can we propose a different piece for each spectator at the same time?

How “near” can you bring the performance to the spectator?

How does “fuchsia” sound?

Are you talking to me?

Can the end of the piece become the opportunity to enter an unexpected situation?

— transcription of “objects as questions” from “El caso del espectador”— How can I subvert the point of view of the spectator?

How can I propose two realities at the same time?

How can we experience a double reality?

Can I propose on space-time on stage and one cinematic space-time on the TV? How can I fragment reality in order to propose multiple readings of the same action?

How can the mind of the spectator be active while moving between the gap of these two realities?

How can the gaze of the spectator become choreographic?

Can I use dissociation in order to become multiple things?

Can I be visible and invisible at the same time?

Can I be invisible and outside in the same space?

Am I victim and the killer of the same murder?

Are my screens killing me?

What is the role of the body in this piece?

How can I be all the characters of one movie?

What is the border between fiction and reality?

What is the power of representation?

Can the fact of watching two things simultaneously create an event?

If you propose two realities that are contained in one single object; one through a camera; one through the point of view of the spectator; where do you place the truth?

And... what about suspense?

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QUESTIONS Programme Flow Users Perimeter permeability Perimeter transparency Roof occupation Energy needs Decibel level Artificial illumination Indoor / outdoor temperature gap Indoor / outdoor humidity gap Transit time

= = = = = = = = = = = =

????? ?????? people/day ?? people ?? % ?? % ?? % ???????? KW ??? dB ?? % ???? ยบC ??? mm ?? minutes

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Flux References

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Gabriel Orozco. “Asterisms” 2010.

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Alejandro Plasencia. “Rémora” System. 2014

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London Geographical Institute. “The world commercially developed regions and routes�. 1920.

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Cold and Warm Oceanic Currents

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NASA JPL: Ocean Surface Topography from Space. 1992-1993

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Map of the North Pacific Subtropical Convergence Zone (STCZ) within the North Pacific Gyre.

Wikipedia

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Track map of the “friendly floatees” 28.800 duck bath toys lost in the ocean in 1992.

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Field locations where count density was measured (pieces km−2; see colorbar), “Plastic Pollution in the World’s Oceans: More than 5 Trillion Plastic Pieces Weighing over 250,000 Tons Afloat at Sea” Research article, University of Connecticut, 2014.

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Lindsey Hoshaw. image from the article “Remnants of Japan’s Tsunami Attract an Archaeological Interest”. 2012

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These flows represent 75% of all human movement from 2005-2010.(Circos / Krzywinski, M. et al.)

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Olafur Eliasson. “Green river”. 1998–2001, Los Angeles, 2001, Tokyo.

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Ocean Prediction Center. Atlantic Surface Analysis. 2014.

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Maria Cristina Finucci. “The Garbage Patch State” 2014

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activate it following: UDD SORIANO Channel http://auras.ma/s/viCL8

Activate with

(available in Google Play and App Store)

Traces References

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Daniel Canogar. “Otras Geologías”. 2004

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Image from “A beautiful mind”. Ron Howard. 2002.

UDD SORIANO CHANNEL

Try Click or doubleclick on the image.

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Images from “Pi: Faith in Chaos”. Darren Aronofsky. 1998 UDD SORIANO CHANNEL

Try Click or doubleclick on the image.

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Zodiac Killer cryptographic note. 1970.

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Bruno Munari. “Ricostruzione teorica di un oggetto immaginari�. 1956

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Image from “The Wire” TV series. David Simon. 2002-2008.

UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Archizoom. “No-Stop-City”. 1970

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Crop Circles.

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Tom Sachs.Bullet VIII in Ten Bullets, 2009.

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Damien Hirst. “For the Love of God”. 2007.

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Joseph Cornell. Object (Roses des Vents) 1942-1945

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Anthony Pratt. American version of the board game “Cluedo”. 1949.

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Junya Ishigami. Tree canopy projection for KAIT. 2010

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67P-Churyumov-Gerasimenko comet, compared to Downtown Los Angeles City.

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Andy Warhol. “Do it Yourself”. 1962

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Pablo Picasso. “Bull’s Head”. 1943.

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Marijn van der Poll. “Do Hit Chair”. 2000 UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Olof Johan Södermark. “Portrait of Stendhal” 1840 / Basilica di Santa Croce, in Piazza Santa Croce (Florence). 1385

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Hamilton-Beach Manufacturing. “Try-New-Life� vibrator. 1920.

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Homeland TV series - Carrie’s Wall of notes.

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X-ray computed tomography (X-ray CT) of a human head.

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Boots and shoes.

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Toyo Ito. “Pao, Dwelling for a Tokyo Nomad Woman”. 1985.

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Noble&Webster. “Wild mood swings”. 2009-2010

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John Maybury recreated the images accumulated in Bacon’s studio in a 1998 film entitled Love is the Devil; digital composition. Mariano Akerman

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Edmond O’Donovan. Detail of the transfer plan of Francis Bacon Studio.

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Masayoshi Sukita , Heroes Contact Print (Piece No. 32), 1977

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Duane Michals. “There are things here not seen in this photograph�. 1977

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Joan Fontcuberta. “Resiliencia”. 2010

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Amazon warehouse, Germany.

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Image from “Citizen Kane”. Orson Welles. 1941.

UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Lost and Found office.

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Anish Kapoor. “Cloud Gate”. 2006.

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Enric Miralles. Kolonihaven House. 1996.

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Sir John Soane’s House and Museum. Westminster, London. 1794-1824.

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Junya Ishigami. “Table” objects position calculations. Tokio, 2005.

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Francesco Calzolari. “Cabinet of Curiosities”. 1622.

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Richard Hamilton. “The Critic Laughs”. 1968.

UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Otto Piene. Light Ballet. 1961.

UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Richard Hamilton. “Just what is it that makes today’s homes so different?”. 1992.

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Brodsky and Utkin. “Columbarium Architecturae (Museum of Disappearing Buildings)�. 1984.

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Wax “Ex-voto”, wax candles shaped as parts of the body to make an offering to the gods.

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Vicente Guallart. “Sharing Tower Project”. 2005

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Paco Gómez. “Los Modlin”. 2013 / Photographs found in the street by Paco Gómez.

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Raymond Quenau. “Cent mille milliards de poemes”. 1961.

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Lars Laumann. “Berlinmuren”. 2008.

UDD SORIANO CHANNEL

Try click or doubleclick on the image.

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Nickolay Lamm. “Lammily�, average real dimensions doll. 2014.

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Components of a Lustron Prefabricated House, Columbus, Ohio, 1949.

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Texts

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USA Today, Stephanie Howsband, a bordo del barco Sea Dragón, costa de California, 12-112012 Agustín FERNÁNDEZ-MALLO

Texto extraído de “Limbo” (Ed. alfaguara, 2014), pp. 119-121.

Desde la proa del Sea Dragón han avistado un trozo de barco, en el casco se distinguen letras japonesas. Se trata de un fragmento, 68 kilos de peso, de un resto del tsunami del año pasado. La expedición del Sea Dragón no la componen científicos, sino voluntarios provenientes de varios países que recogen los restos del desastre con el único fin de documentarlos e inventariarlos. Se sabe que el tsunami arrojó al mar 4,5 millones de toneladas de materia. Gran parte se hundió, pero alrededor de 1,4 millones de toneladas continúan flotando. Las corrientes conducen todo eso hacia la costa californiana. Ben Doniak, capitán del barco, lo resume así: «Digamos que en el año 2011 la costa este de Japón fue barrida por una gran ola. Un año después, otra gran ola, pero mucho más lenta, llega a las costas de California. Son los restos de aquélla, el rebote». La tarea de recogida empezó como un juego y ahora su labor es imprescindible para entender de qué manera se mueven los objetos que van a la deriva. «Nunca antes se había dispuesto de un campo de pruebas natural como éste —dice Sandra Torino, voluntaria llegada de Cerdeña—, esto podría ayudar a estudiar muchas otras cosas, por ejemplo el comportamiento de un cuerpo humano inerte en el mar, lo que sería muy valioso a la hora de rescatar cadáveres producto de naufragios, prever sus trayectorias». Ken Campbell, piragüista profesional que ha recorrido las islas de la costa del estado de Washington en busca de objetos, añade: «Los restos del tsunami son como una máquina del tiempo. Somos arqueólogos en tiempo real, manejamos mucha información perdida». Hoy mismo ha aparecido una marquesina de cemento y madera con una Harley-Davidson encadenada a un poste, hace un mes, cuatro automóviles Toyota, idénticos en modelo y color, procedentes de una fábrica que se vio arrasada, y hace dos

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meses, un contenedor repleto de osos de peluche entre los que ya vivían peces. Patty Wallace, directora del programa de recogida de escombros marinos de la National Oceanic and Atmospheric Administration, dice: «Esta situación es bastante insólita, nunca habíamos estudiado objetos que vagan a esta escala». Le pregunto si eso es otra manera de decir «estábamos acostumbrados a la chatarra espacial, pero no a la chatarra marina», y responde que sí, exactamente eso. Supervivientes del tsunami dijeron que el ruido creado por la ola fue tan demoledor como la propia masa de objetos arrastrados. Ahora ese sonido regresa con cuentagotas, roto pero audible, a las playas de Los Ángeles. «Es el sonido final, el último sonido del desastre —dice Sandra Torino—. Yo antes era modelo, modelo de manos en anuncios publicitarios, me ganaba bien la vida — Sandra nos enseña las manos; deterioradas por el trabajo de recogida, conservan perfectamente un estilismo de anuncio—, poca gente sabe que después de los rostros, las imágenes de manos son lo que más se ve en los spots de televisión. Es lógico, las manos son reflejo de la cara, las manos son las “segundas caras”, como se dice en mi profesión. La ventaja de ser modelo de manos es que no quemas tu imagen, puedes salir en la tele cuantas veces quieras, y es como entrar en la casa de alguien, estar allí, en la sala, con ellos, la gente no tiene miedo a las manos, hacen compañía, Ias caras sí que no, nadie quiere a un extraño en casa —alguien llama a Sandra desde la popa del barco, pero aún tiene unos minutos más para nosotros—, el anuncio que me dio más dinero fue el de un líquido aditivo para carburantes de coche, aparecía una compañera con el bote del producto, y después unas manos, que eran las mías, las metía en el líquido aditivo para carburantes y las sacaba brillantes, protegidas, como si fuera crema de manos, y decía: “Así en tus manos como en tu motor”. Nunca suelo ver los anuncios en los que aparezco, no es que me dé vergüenza, pero es como si un médico viera en su casa la grabación de todos los pacientes que al cabo de un día pasan por su consulta, ya me entiendes, pero el año pasado, era verano, estaba en un hotel de Roma, me habían llamado para filmar otro spot, y en un canal norteamericano, no recuerdo cuál, me vi, vi mi anuncio de aditivo para carburantes de motor de coche, recuerdo

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que la emisión se cortó durante un segundo, un instante de nada, pero comprendí que ese trabajo ya no era para mí, bien es verdad que venía arrastrando un periodo de bajón, insatisfacción general, un vaciamiento aquí dentro, en el pecho, ya sabes, pero aquello ya no era para mí, tumbada en la cama de aquel hotel de Roma tuve una visión: una pareja de jóvenes, hombre y mujer, en una cafetería de un país que no reconocí, veía el mismo spot que yo, y entonces sentí mis manos separadas de mí, muy lejos, como si me las hubieran cortado, y pocos días después una amiga me habló de esto, de la recogida de restos del tsunami, y no lo dudé. Y no lo hago por los demás, ni por limpiar, no me malentiendas, lo hago por mí, ahora puedo decir que mis manos valen para algo, para algo real, quiero decir». Sandra continúa con la tarea que hoy tiene asignada, el análisis y clasificación de uno de los mayores hallazgos hasta la fecha: una pila de maderas desordenadamente ensambladas, en cuyo interior hay un retrete, una cesta con la colada de un bebé, un frasco de jarabe para la tos y fragmentos de una lavadora con letras en japonés. «Cuando empezamos a buscar en este montón —añade mientras no cesa de revolver maderas—, caí en la cuenta: ahora mismo sí que estoy en la casa de alguien».

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Afloat in the Ocean, Expanding Islands of Trash Lindsey HOSHAW

Published: November 9, 2009, The New York Times ABOARD THE ALGUITA, 1,000 miles northeast of Hawaii — In this remote patch of the Pacific Ocean, hundreds of miles from any national boundary, the detritus of human life is collecting in a swirling current so large that it defies precise measurement.

Light bulbs, bottle caps, toothbrushes, Popsicle sticks and tiny pieces of plastic, each the size of a grain of rice, inhabit the Pacific garbage patch, an area of widely dispersed trash that doubles in size every decade and is now believed to be roughly twice the size of Texas. But one research organization estimates that the garbage now actually pervades the Pacific, though most of it is caught in what oceanographers call a gyre like this one — an area of heavy currents and slack winds that keep the trash swirling in a giant whirlpool.

Scientists say the garbage patch is just one of five that may be caught in giant gyres scattered around the world’s oceans. Abandoned fishing gear like buoys, fishing line and nets account for some of the waste, but other items come from land after washing into storm drains and out to sea.

Plastic is the most common refuse in the patch because it is lightweight, durable and an omnipresent, disposable product in both advanced and developing societies. It can float along for hundreds of miles before being caught in a gyre and then, over time, breaking down.

But once it does split into pieces, the fragments look like confetti in the water. Millions, billions, trillions and more of these particles are floating in the world’s trash-filled gyres.

PCBs, DDT and other toxic chemicals cannot dissolve in water, but the plastic absorbs them like a sponge. Fish that feed on plankton ingest the tiny plastic particles. Scientists from the Algalita Marine Research Foundation say that fish tissues contain some of the same chemicals as the plastic. The scientists speculate that toxic chemicals are leaching

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into fish tissue from the plastic they eat.

The researchers say that when a predator — a larger fish or a person — eats the fish that eats the plastic, that predator may be transferring toxins to its own tissues, and in greater concentrations since toxins from multiple food sources can accumulate in the body.

Charles Moore found the Pacific garbage patch by accident 12 years ago, when he came upon it on his way back from a sailing race in Hawaii.

As captain, Mr. Moore ferried three researchers, his first mate and a journalist here this summer in his 10th scientific trip to the site. He is convinced that several similar garbage patches remain to be discovered.

“Anywhere you really look for it, you’re going to see it,” he said.

Many scientists believe there is a garbage patch off the coast of Japan and another in the Sargasso Sea, in the middle of the Atlantic Ocean.

Bonnie Monteleone, a University of North Carolina, Wilmington, graduate student researching a master’s thesis on plastic accumulation in the ocean, visited the Sargasso Sea in late spring and the Pacific garbage patch with Mr. Moore this summer.

“I saw much higher concentrations of trash in the Pacific garbage patch than in the Sargasso,” Ms. Monteleone said, while acknowledging that she might not have found the Atlantic gyre’s highest concentration of trash.

Ms. Monteleone, a volunteer crew member on Mr. Moore’s ship, kept hoping she would see at least one sample taken from the Pacific garbage patch without any trash in it. “Just one area — just one,” she said. “That’s all I wanted to see. But everywhere had plastic.”

The Pacific garbage patch gained prominence after three independent marine research organizations visited it this summer. One of them, Project Kaisei, based in San Francisco, is trying to devise ways to clean up the patch by turning plastic into diesel fuel.

Environmentalists and celebrities are using the patch to promote their own causes. The actor Ted Danson’s nonprofit group Oceana designated Mr. Moore a hero for his work on the patch. Another Hollywood figure, Edward Norton, narrated a public-service announcement about plastic bags, which make their way out to the patch.

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Mr. Moore, however, is the first person to have pursued serious scientific research by sampling the garbage patch. In 1999, he dedicated the Algalita foundation to studying it. Now the foundation examines plastic debris and takes samples of polluted water off the California coast and across the Pacific Ocean. By dragging a fine mesh net behind his research vessel Alguita, a 50-foot aluminum catamaran, Mr. Moore is able to collect small plastic fragments.

Researchers measure the amount of plastic in each sample and calculate the weight of each fragment. They also test the tissues of any fish caught in the nets to measure for toxic chemicals. One rainbow runner from a previous voyage had 84 pieces of plastic in its stomach.

The research team has not tested the most recent catch for toxic chemicals, but the water samples show that the amount of plastic in the gyre and the larger Pacific is increasing. Water samples from February contained twice as much plastic as samples from a decade ago.

“This is not the garbage patch I knew in 1999,” Mr. Moore said. “This is a totally different animal.”

For the captain’s first mate, Jeffery Ernst, the patch was “just a reminder that there’s nowhere that isn’t affected by humanity.”

Travel expenses were paid in part by readers of Spot.Us, a nonprofit Web project that supports freelance journalists.

This article has been revised to reflect the following correction: Correction: November 26, 2009 An article on Nov. 10 about garbage patches in the world’s oceans referred incorrectly to the travels of a graduate student researching a master’s thesis on plastic accumulation in the oceans. The student, Bonnie Monteleone, visited the Sargasso Sea, which is part of a feature known as the Atlantic gyre. Thus, it was not the case that she “might not have found” the gyre. (Ms. Monteleone said instead that she might not have found the zone with the highest concentration of trash.)

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Remnants of Japan’s Tsunami Attract an Archaeological Interest Lindsey HOSHAW

Published: September 3, 2012, The New York Times.

ABOARD THE SEA DRAGON, 1,000 miles east of Japan — After narrowly avoiding a typhoon, battling seasickness and being pelted by rain for days on end, crew members aboard the Sea Dragon were galvanized by the sight of a stranded boat.

The 150-pound piece of a skiff, torn in half and adorned with Japanese characters, was most likely a remnant of the tsunami that struck eastern Japan last year.

This scientific expedition was unusual in many ways, including the fact that it didn’t contain any scientists. Members of the volunteer crew hailed from six countries and lived on a yacht for a month in hopes of finding an array of debris they could photograph and blog about.

They are part of a citizens’ brigade that has been fanning out along the West Coast and in the Pacific, collecting and categorizing thousands of items that were swept out to sea after an 8.9-magnitude earthquake sent a tsunami crashing into coastal Japanese communities in March 2011. In some cases, they are tracking down and returning items to their owners.

These citizen scientists aren’t waiting for government direction. Kayakers in Washington have taken it upon themselves to explore remote islands for refuse, surfers in Oregon have posted cleanup guidelines on local beaches, and scuba divers in Hawaii have retrieved debris off the coast of Maui.

Their efforts have quickly become the backbone of a national effort to better understand what is washing up along thousands of miles of coastline.

The National Oceanic and Atmospheric Administration, which has domain over United States waters, deployed a drone above Oahu in June to determine whether aerial monitoring is feasible. Fishing nets, wooden construction debris and buoys were placed in the water to test whether

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the Puma unmanned aircraft would recognize the objects and then send images back to NOAA via satellite.

But NOAA has also been relying, in part, on volunteers. The agency has received more than 1,000 reports of marine debris on United States beaches since the organization started its marine debris hot line last December.

Not all debris is from Japan, but confirmed pieces of tsunami debris include five derelict fishing boats, a soccer ball, a volleyball and several fishing floats.

Citizen scientists have taken an archaeological interest in the flotsam.

“The tsunami debris is something of a time capsule,” said Ken Campbell, a professional kayaker who, with two fellow guides, has toured Washington islands looking for lost items.

Many see the debris field as a watery Pompeii, eloquent but impermanent, soon to be wiped clean by the force of waves and gravity.

“Beachcombers are like archaeologists, and if you don’t talk to them when the debris arrives, the info is lost,” said Curtis Ebbesmeyer, an oceanographer who started the world’s largest beachcombing organization.

Along with the Algalita Marine Research Institute, Marcus Eriksen, whose marine conservation nonprofit organization, 5 Gyres Institute, chartered the Sea Dragon expedition in June, said the natural disaster hit home.

“When you see this swath of debris washing ashore, it’s hard not to feel connected to their tragedy because in some ways you experienced it with them.”

Japanese officials estimate that up to 1.5 million tons of debris is still afloat, and large items like a concrete dock and a Harley-Davidson motorcycle have already washed up along the coast of Oregon and British Columbia. Dr. Ebbesmeyer says a majority of the debris will make landfall in October.

“This situation is pretty unprecedented,” said Nancy Wallace, director of NOAA’s marine debris program. “We’ve never dealt with things moving across the ocean at this scale.”

Out in the northeastern Pacific Ocean during the expedition in June,

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Dr. Eriksen and the Sea Dragon crew found a Bridgestone tire that said “made in Japan,” a metal propane tank, a large oval buoy from an oyster farm and several buckets and crates with embossed Japanese characters.

Each day during a mandatory three-hour watch, crew members were required to steer and look for oncoming vessels, and the citizen scientists recorded debris sightings in a thick logbook that was based on NOAA protocols. The most avid pollution-seekers would stand for hours at the bow of the ship with a pool skimmer, trying to scoop up every floating fragment.

Tsunami debris has also been sighted as far north as Kayak Island in the Gulf of Alaska. Stanley Rice, program manager for habitat studies at the Auke Bay Laboratories, said he has seen a tenfold increase in the amount of all debris on Kayak Island in recent years.

It is not surprising that the island has accumulated more debris than its neighbors, because of the way Kayak Island runs perpendicular to the Alaska current, which brings items ashore.

“This year we saw a lot more Styrofoam chunks, I mean a lot more, so I think statistically you could say that’s pretty good evidence that it’s from the tsunami,” Dr. Rice said.

Among the thousands of other pieces of debris were water bottles, nets, gill net floats, buoys and lumber. “We’re going to see it washing ashore for a while,” he said. “There’s just so much more debris out there.”

Mr. Campbell, along with two other professional sea kayakers, Jason Goldstein and Steve Weileman, started the Ikkatsu Project in May to examine islands off the coast of Washington that are virtually inaccessible by foot because of rugged coastal cliffs.

One of their biggest debris finds was a pile of lumber that included the lid of a potty-training toilet, a laundry hamper, a bottle of cherry-flavored cough syrup, several brown glass bottles and pieces of a washing machine marked with Japanese characters.

Mr. Campbell and his colleagues believe that the fragments were part of a bathroom that washed out to sea during the tsunami.

“When we started digging through the pile, that’s when it hit home: We’re

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in someone’s house right now,” Mr. Campbell said.

Using a serial number imprinted on the wood, the kayakers were able to track the lumber to a mill in Osaka. When Mr. Campbell cut off a piece of the wood, he said it was dry inside and smelled like sap — another indication that the debris hadn’t been at sea long.

Debris from the tsunami is expected to wash ashore over the next several years. While it is a floating archaeology project for some, and a scientific experiment for others, it is also a tangible reminder of nature’s perils.

“I’m constantly struck by the idea that this is a very small planet,” Mr. Campbell said. “Something that happens on the other side of the ocean has become something you can see and touch in your backyard. It’s a pretty powerful thing.”

A version of this article appeared in print on September 4, 2012, on page D3 of the New York edition with the headline: Remnants of Japan’s Tsunami Attract an Archaeological Interest.

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Reconstrucciones teóricas de objetos imaginarios Bruno MUNARI

Extracto del texto: RECONSTRUCCIONES TEÓRICAS DE OBJETOS IMAGINARIOS [1970] “Los arqueólogos encuentran de vez en cuando, en sus excavaciones en el desierto del Sahara o en cualquier gruta que, en tiempos, se hallara a las orillas del mar, algún fragmento de residuo animal y, según examen y estudio riguroso, llegan a saber que era un trozo de diente de un ser que vivió en el período paleolítico superior, cualquier especie de Homo desconocido.

El fragmento pasa a manos de otros expertos que intentan reconstruir en su integridad el animal, el hombre o el objeto (en otros casos) a base de su relieve estructural, matérico, etc… …Haremos una reconstrucción teórica de un objeto imaginario basándonos en fragmentos de residuos de uso desconocido y de incierto origen… …No sabemos que resultará de ello, ni a que mundo podrá corresponder… …Y así, con calma, y sin acordarnos de Rafael, habremos reconstruido algo que antes no existía; algo que nadie viera antes; algo que nosotros mismos desconocíamos; algo que arrojaremos de inmediato a la papelera porque no valdrá nada. Perseverando si acaba por lograrse.”

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“Fisuras de la Cultura Contemporánea”. Abril 1999. Seventh number.

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